445:, when the Maya elite used ceramics not only to give gifts to foreign dignitaries, but they were also used in feasts during the Classic Period. Specialized pottery was made for the graves of nobles. Not anyone could make this pottery as it was very important they knew about the Maya history, mythology, and more. On these ceramics, intricate scenes were depicted which showed the palace life of the elite. The decorative scenes needed to feature the elite because they were the primary customers and wanted to have artwork that featured themselves. On each ceramic piece near the rim, its contents would be listed out, a type of beverage for a vase or food for a plate, then who it belonged to was written next. The rim also may feature Saurian head labels which may indicate a specific location where the piece was made or where the scene on the piece took place. Since these ceramics were traded and gifted, many end up in differing environments. In Teotihuacan, many ceramics from Tikal have been found due to being traded between traveling merchants between different cities in Mesoamerica. Specialists mainly pay attention to the writing, drawings, and hieroglyphs, since they were different for the different people and cultures they were made by. As for the everyday use more simple ware was made, generally of only one color, and would be produced in large quantities for the general public use. Maya pottery only weakly correlates to socio-economic levels of Maya society because of the value the culture emphasized ceramics. Rituals were where the Maya registered status rather than in pottery.
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Across the
Classic period, Maya pottery has little comparisons between its assemblages. Polychrome pottery was a luxury item not commonly available to the general population. Most Early Classic Ceramics were monochrome types. Figural Polychromes were an elite prerogative, probably produced by and for other elites. The Classic Period of the Maya provided beautiful ceramics in many forms. The lidded basal flange bowl was a new style of potter to add to the already growing repertoire. This type vessel usually had a knob on top in the form of an animal or human head, while the painted body of the animal or human spreads across the pot. Many of these pots also had mammiform supports, or legs. These unique vessels are usually found in great condition signaling a ritual function. The reason many are in good condition is their frequent use as burial goods. As such, they are often the target of looters who cut deep trenches through many Maya buildings in search of a marketable vessel.
417:, the Maize God is represented in a cyclical nature in order for the Maya to understand the human life cycle. By placing an important figure in Maya culture onto pieces of pottery, it provides a higher importance of the pottery itself and its purpose. The Holmul Dancer, although similar to the Tikal Dancer in positioning, features a male dancing with a small dwarf or hunchback figure off to one side and has been seen on forty-five compiled vessels. Although the decoration had a higher importance, structure was still taken in to account. Specific pieces often featured other characteristics such as rattle feet, hollow cylinders located on the bottom of the plate that hold a ball on the inside. The rattle feet were often used for ritual purposes in the form of music because when shaken, the plate rattles. Pieces created with a diameter over 0.3m were often used for ceremonial feasts and those with smaller diameters, often including jars, were used for storage.
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287:(yellow or orange, abbreviated "A"). "Most ceramic types produced after the founding of Monte Albán are designated by an alphanumeric code indicating their ware and type number (e.g., G.12, C.11, K.17, A.9). In contrast, ceramic types dating to pre-Monte Albán phases generally have descriptive names (e.g., Socorro Fine Gray, Atoyac Yellow-White). Although Oaxaca archaeologists do not formally assign these types to the four ware categories defined by Caso et al. (1967), similar gray, brown, and buff/cream pastes were used by earlier (Middle Formative) potters, and several pre-Monte Albán types clearly were "ancestral" to particular types in the Monte Albán sequence (e.g., Drennan, 1976: 22; also Flannery and Marcus, 2005: 473; 2015: 115–116)."
655:
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259:"On a significant number of Chocholá pots the decorative information is restricted to hieroglyphics, either the diagonal band described above, or a more elaborate combination of diagonal glyph bands, rim texts, or a single large Calendar Round date." The Primary Standard Sequences are text that occurs usually as a rim text on many ceramic vessels from all parts of the Maya Lowlands. The PSS is a glyphic formula that refers to the dedication of a vessel, its method of adornment, the class of vessel involved, its use and content (cacao drinks and maize gruels), and sometimes the owner or artisan.
239:"Whether painted or incised, decoration appeared in circumferential bands on the interior walls of tripod dishes (Rice 1983, 1985, 1989). The bands are defined above and below by multiple lines and divided into two or four panels by vertical lines or placement of simple motifs, which also may appear inside the panels (see Rice and Cecil 2009). This decorative coherence structures the classificatory coherence of types and varieties in the slipped ceramic groups across the three paste wares: monochrome, black-painted, red-painted, and incised."
204:"Postclassic slipped and decorated pottery at sites in the Petén Lakes region was manufactured of three distinctive paste wares. These indicate minimally three production nodes of Petén Postclassic pottery, at least one for each paste. ... These paste wares were used to manufacture the three most common red-slipped ceramic groups of the Postclassic.... otters across the Petén Lakes area had a fairly uniform and widely shared set of ideas about what constituted proper pottery decoration regardless of their different clay and temper resources."
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structured what kinds of decoration were to be applied, and where and how, were strictly adhered to in at least three production resource-groups (minimally defined by paste compositions) throughout the lakes area (approximately seventy-five kilometers east–west) over three hundred years. In addition, we were eventually able to successfully predict the decorative types we would find (which would otherwise be a process of categorization) in each ceramic group.
22:
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create boxes or types of additions like feet or lids for vessels. Once the pot was formed into the shape, then it would have been set to dry until it was leather hard. Then, the pot was painted, inscribed, or slipped. The last step was the firing of the vessel. Kilns were used to fire the vessels, and they were normally found outside in the open air. Unlike many modern kilns, they were fired by wood, charcoal, or even grass.
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specialized in the manufacture of elaborate cream ware (crema) vessels, while other communities produced primarily (though not exclusively) utilitarian vessels. We suspect that these patterns reflect the efforts of rulers at Monte Albán to control the production and distribution of elite pottery, particularly crema vessels." "Many other sites in which crema-ware ceramics were found were interpreted to have had close ties to
119:
144:. The vessels used different colors, sizes, and had varied purposes. Vessels for the elite could be painted with very detailed scenes, while utilitarian vessels were undecorated or much simpler. Elite pottery, usually in the form of straight-sided beakers called "vases", used for drinking, was placed in burials, giving a number of survivals in good condition. Individual examples include the
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308:, because these ceramics were only produced from clay sources located near the ancient city." The distribution of crema ware in combination with other archaeological evidence suggests "efforts by the leaders of Monte Albán to control, perhaps because of trade, the valleys lying between the Valley of Oaxaca and the coast."
554:. The clay slips were then used to decorate the pottery. By the fourth century, a broad range of colors including yellow, purple, red, and orange were being made. However, some Mayan painters refrained from using many colors and used only black, red, and occasionally cream. This series of ceramics is termed the "
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cut into useful shapes to create vessels to carry liquids and foodstuffs. These portable and durable gourds made excellent containers. The first ceramics closely resembled gourds and many were decorated with rocker stamps and simple slips. During the Late
Preclassic period, many of the ceramics took
437:
Although the Maya are well known for creating a multitude of art, they are perhaps most well-known for their pottery. The Maya used these potteries to perform their sacrifice rituals with melodic tones. Because these rituals were a way of praying for rain, the blood spilled by the sacrificial victim
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the color scheme surrounded reds and oranges on a white background. Black backgrounds often indicate supernatural forces featured in the plate's scene or the depiction of the underworld because of the dark color used. Different regions also featured a variety of regional symbols depicted on pottery.
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What does a ceramic system “mean”? Most obviously, it means that
Postclassic Petén potters recognized and adhered to a decorative canon—a set of rules—for design structure, layout, and colors. Vessel forms and proportions varied from ware to ware and settlement to settlement, but the principles that
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As defined and used by
Southwestern archaeologists, a ware is "a large grouping of pottery types which has little temporal or spatial implication but consists of stylistically varied types that are similar technologically and in method of manufacture", and "a defined ware is a ceramic assemblage in
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was not used in creating this pottery. Instead, they used coil and slab techniques. The coil method most likely involved the formation of clay into long coiled pieces that were wound into a vessel. The coils were then smoothed together to create walls. The slab method used square slabs of clay to
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systems of the highland valleys. It is hypothesized that the ancient people obtained their clay by the same method as today's Maya. The clays are located in exposed river systems of the highland valleys. Most likely, due to the climatic similarities over the last millennia it is likely that these
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depicted on them because that flower was used to enhance the flavor of the cacao drink. Designs often included rituals, supernatural figures or common day practices. Rulers were often depicted next to deities and shown to be equal, or nearly equal, in power and status as them. Other pots functioned
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The utilitarians ware of the common people usually had simple decoration that reflected its use. Vessels in the palace were more elaborately decorated by carved forms or highly skilled polychrome paintings with hieroglyphs which named their function, the patron and rarely, the artist signature. For
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comes from. These were mainly made as gifts and given to make local alliances, and these vessels are found in a more localized area. Whereas the ones made from volcanic ash are more widespread because they were thought to be given as gifts from the upper class to make very large alliances, through
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For many potters, decoration and imagery was more important than the structure of each vessel. Cylindrical vases and plates were popular because they maximized the surface area for storytelling through imagery on each piece. There was more evolution in pictorial representations than shapes. As the
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The pottery of the Maya Early
Classic dated from AD 250 to 550. The Maya soon began using polychrome slip paint, meaning they used many different colors to decorate the pots. This method of decoration became almost homogeneous for Mayan potters, thus signaling the beginning of the Classic Period.
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to burn as incense which left a blue hue used for many other types of art later on in Maya history. Many times this post-fire stucco technique was mixed with painting and incising. Incising is carving deeply or lightly into partially dried clay to create fine detailed designs. This technique was
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Designs could be incised or carved post-firing. "In the
Rosario phase and Early MA I, production loci generally produced both “costly” and utilitarian vessels. By Late MA I, the production of costly vessels was dominated by potters in the Cacaotepec-Atzompa locality northwest of Monte Albán, who
163:, meaning that only one type of mineral slip was used. Polychrome pottery was more complex in nature and therefore more commonly used by the elite. Not only was polychrome pottery used as decoration, it was also used as a form of social currency—a physical display of status and others' approval.
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Northern Yucatán; as they did not come directly from digs they are often "labeled as 'unprovenanced' and hence 'unusable'. ... In 1973, the name
Chocholá was first assigned to the waxy, chocolatey, bowls and cylinders, which due to their uniquely carved surfaces, stand out from the majority of
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on appendages of tetrapod mammiform supports. These supports were four legs underneath the pot holding it up. Tetrapods are relatively rare in the Maya
Lowlands- even in the Peten where they were first described. Characteristic cream-on-red stripes colored these unique vessels.
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and temper were collected, pottery creation began. The maker would take the clay and mix it with the temper (the rock pieces, ash, or sand). Temper served as a strengthening device for the pottery. Once worked into a proper consistency, the shape of the piece was created.
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Surveys of Maya ceramics a major part of the ongoing controversy over the degree of elite political control over aspects the subsistence economy, the extent of economic centralization, and how it reinforces power (a common debate in the archaeology of complex societies).
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Archaeological evidence has been found that suggests ceramics were used for industrial purposes. The discovery of highly uniform ceramic cylinders along with tools used in the production of salt indicate that the ceramics were used to mass-produce salt from brine.
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which all attributes of paste composition (with the possible exception of temper) and of surface finish remain constant." Generally each pottery classification and terminology system then becomes rather specific to a particular archaeological site and/or period.
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As time progressed, various features were added to ceramics to go beyond the fundamental needs of vessels; For example, pellets were put in larger bowls to not only serve as something to hold food, but would also become instruments used in the same feasts.
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The Maya were a diverse people whose culture has developed through the centuries. As they developed, so did their pottery. Archaeologists have found stages of commonality between types of ceramics, and these phases coincide with the Mayan timeline.
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characterized by its waxy and lustrous surface finishing, Late
Classic to Early Postciassic in northwestern Yucatán peninsula. one of the most sophisticated ceramic traditions of Northern Yucatán, and encompasses a multitude of elite wares.
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rock, as well as the sand and ash from the pumice areas provide many types of tempering. In the area, there are a range of clays that create varied colors and strengths when fired. Today's Maya locate their clays in the exposed
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Spouted vessels of the Middle
Preclassic (1000–400 B. C.) and Late Preclassic (400 B. C.-A. D. 250) Maya are traditionally called "chocolate pots", but lacked direct evidence that they had use in association with
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438:(frequently a prisoner of war) was a form of asking their gods for rain and bounty in agriculture. Since these two components are connected, with rain, the Maya would have grown along with their agriculture.
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A firefly, among the most common of insects in Maya art, is carved on both sides of this vessel. The text on the rim mentions a young man, suggesting this vessel was involved in a rite-of-passage ceremony.
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A type-variety classification system's criticisms include that it leaves a lot of variability unaccounted for, it should be accompanied by modal analysis, and it has limited use with whole vessels.
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Middle Preclassic (900/800-250 BC) Late Preclassic (250 BC- AD 250) Early Mayan ceramics stemmed from a past that began even years before the Maya became a group. Originally, the early Maya used
256:
ancient Maya ceramics. ... Coe named the style after a small village 30 kilometers southwest of Mérida, near the larger settlement of Maxcanu, from which he was told the ceramics originated"
2102:. Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, Barbara MacLeod; Linda Schele, Michael Mezzatesta, Justin Kerr (2 ed.). Durham, NC: Duke University Press, with Museum of Art.
1035:, p. 19, citing (1st quote) WGW 1958 pp. 34–35, which cites Hargrave and Colton 1935 pp. 49–51, Colton and Hargrave 1937 pp. 1–2; citing (2nd quote) Sabloff and Smith 1969 p. 278.
754:, 1984, based on Valliant's work from 1927, and modified from Smith's 1955 work at Uaxactun. It is a mix of phases, types, and technology, and therefore of no indicative value.
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There is no 'standard' timetable for Maya ceramics. There is significant variability in timing and content between sites. The first table below lists the ceramic complexes for
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There is evidence in Postclassic Oaxaca that there was significant local production and trade of ceramics independent of the markets at the region imperial capital of Tututepec.
1293:
Powis, Terry G.; Valdez, Fred Jr.; Hester, Thomas R.; Hurst, W. Jeffrey; Tarka, Stanley M. Jr. (March 2002). "Spouted Vessels and Cacao Use among the Preclassic Maya".
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complexity of painting increased, vessel shapes remained fairly simple. Different regions in Mesoamerica also featured different color schemes regarding the area. In
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2033:"Ceramic production and consumption in an in-between place instrumental neutron activation analysis of ceramics from the Manialtepec basin of Oaxaca, Mexico"
1956:
1924:
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Elson, Christina M.; Sherman, R. Jason (2007). "Crema Ware and Elite Power at Monte Albán: Ceramic Production and Iconography in the Oaxaca Valley, Mexico".
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1968:
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577:, the Maya added mineral pigments that would dissolve and create rich blues and greens that added to their artistic culture. The original use of the
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Zidar, C. & Elisens, "Sacred Giants: Depiction of Bombacoideae on Maya Ceramics in Mexico, Guatemala, and Belize", W. Econ Bot (2009) 63: 119.
1964:
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provides a look at what the current Guatemalan Maya use today for clay. Highland Guatemala has a rich geological history comprised mainly from a
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were also a canvas of commemoration. There were three main types of ceramics used in daily life: bowls, plates, and cylinders. They were often
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Zidar, Charles; Elisens, Wayne (June 2009). "Sacred Giants: Depiction of Bombacoideae on Maya Ceramics in Mexico, Guatemala, and Belize".
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was incredibly important to Maya culture because the god not only symbolized the Maya's main resource but rebirth as well. In the
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Creamware vessel featuring the Smoking Xul glyph, Maya, Alta Verapaz region, Guatemala, Late Classic Period, Royal Ontario Museum.
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58:
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have suggested a possible greater extent of Maya trade and influence, but Oaxaca coast excavations have been limited.
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65:
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2019:. Palenque Round Table Series. Vol. 10. San Francisco: Pre-Columbian Art Research Institute. pp. 237–245
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409:, often depicted with his arms outspread and one leg bent, and has been seen on eighty-two compiled plates. The
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72:
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39:
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and four other sites on Oaxaca’s central coast." Their great abundance and variety in Bajos de Chila and the
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1982:
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Arnold, Dean E.; Branden, Jason R.; Williams, Patrick Ryan; Feinman, Gary M.; Brown, J.P. (2008-03-01).
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2127:"Ceramic Exchange and the Shifting Political Landscape in the Valley of Oaxaca, Mexico, 700 BC-AD 200"
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Reents-Budet, Dorie (1991). "The 'Holmul Dancer' Theme in Maya Art". In Fields, Virginia M. (ed.).
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Classic Maya ceramic technology and political dynamics in the central Peten Lakes region, Guatemala
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Sherman, R. Jason; Minc, Leah D.; Elson, Christina; Redmond, Elsa M.; Spencer, Charles S. (2019).
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32:
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Maya ceramics are made from two main types of materials that relate to their social structure,
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Tripod showing a lord seated on a throne. Fondacion La Ruta Maya, classic period (250 to 900).
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Ting, Carmen; Martinόn-Torres, Marcos; Graham, Elizabeth; Helmke, Christophe (October 2015).
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Robinson, Mark; McKillop, Heather (Spring 2014). "Fuelling the Ancient Maya Salt Industry".
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Maya vase depicting a costumed noble; burial offering. Late classical period (600-900 CE).
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2013:"The Chocholá Ceramic Style of Northern Yucatan: An Iconographic and Archaeological Study"
8:
2842:
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1873:"Production characteristics of Postclassic Maya pottery from Caye Coco, northern Belize"
1828:"The first direct evidence for the production of Maya Blue: rediscovery of a technology"
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1976:
1931:(Report). FAMSI: Francisco Estrada-Belli (Boston U., now Vanderbilt U.). Archived from
1900:
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1662:"Interregional Relationships in Mesoamerica: Interpreting Maya Ceramics at Teotihuacan"
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1565:"Reverential abandonment: a termination ritual at the ancient Maya polity of El Palmar"
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that is so well known was for ritualistic purposes in pre-Columbian times by combining
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2012:
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Zralka, Jaroslaw; Koszkul, Wieslaw; Martin, Simon; Hermes, Bernard (September 2011).
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Settlement history and interaction in the Manialtepec basin of Oaxaca's Central Coast
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994:
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481:. To begin creating a ceramic vessel the Maya had to locate the proper resources for
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Used for a plethora of daily activities, such as the storage of food and beverages,
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and volcanic ash. Most of the land around the Mayans was limestone, which is where
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1944:'standard ceramic complex time periods and ceramic sphere names' from Smith, 1955.
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Gralisa Ceramic Group: A Graphite-and-red-painted Pottery from the Coast of Oaxaca
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1612:"The production and exchange of moulded-carved ceramics and the 'Maya Collapse'"
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example, cylindrical bowls used for cacao drinks often had the plant species
345:"A distinctive incised and graphite-painted red ware pottery known only from
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1282:(MA). University of North Carolina, Chapel Hill, Department of Anthropology.
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Preliminary Report on the Ceramics from Holmul, Guatemala: Year 2000 Season
1267:(MA). University of Central Florida, Department of Anthropology. p. 42
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Version of a Maya ceramic timetable, adapted from a tourist booklet for
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The Maya had specific techniques to create, inscribe, paint, and design
2384:
2330:
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Caso, A.; Bernal, I.; Acosta, J. (1967). "La Cerámica de Monte Albán".
1476:"In the path of the Maize God: a royal tomb at Nakum, Peten, Guatemala"
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160:
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Stamped or mould-made pottery are generally rare among Maya ceramics.
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2015:. In Macri, Martha J.; McHargue, Jan; Robertson, Merle Green (eds.).
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A ceramic classification by paste color and texture first defined in
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same deposits or similar ones could have been used in early times.
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2004:
Ancient Maya Pottery: Classification, Analysis, and Interpretation
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551:
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221:: silty gray-to-brown with snail inclusions; used to manufacture
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Painting the Maya universe: Royal Ceramics of the Classic Period
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that likely were guides for songs or other ritualistic texts.
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666:(1955, modified, 2000), and may not apply to any other site.
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2069:
Memorias del Instituto Nacional de Antropología e Historia
1150:. Vol. 2. New York: Kerr Associates. pp. 320–330
550:, the Maya created clay slips from a mixture of clays and
1739:"Economic change in the lowland Maya Late Classic period"
1473:
187:
A classification system can be epistemologically useful:
1768:"Pottery ethnoarchaeology in the Central Maya Highlands"
1714:
Reents-Budet, Dorie; Bishop, Ronald (March–April 2003).
1741:. In Brumfiel, Elizabeth M.; Earle, Timothy K. (eds.).
1380:(Earthenware; pink, black and orange slip decoration;
1292:
1141:"Primary Standard Sequence in Chocholá Style Ceramics"
558:", it being similar to the style of the Pre-Columbian
1552:. Norman: University of Oklahoma Press. p. 217.
1967:. Mar Tirreno 96 Col. Popótla, Mexico, D.F. 11400:
1955:
1419:
To Be Like Gods: Dance in Ancient Maya Civilization
388:more as storytelling devices, with glyphs from the
321:
211:: coarse red-orange carbonate; used to manufacture
46:. Unsourced material may be challenged and removed.
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1871:Masson, Marilyn A.; Rosenswig, Robert M. (2005).
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441:Ceramics played a big role in society during the
199:
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1444:"An Annotated Overview of 'Tikal Dancer' Plates"
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594:mostly popular during the Early Classic Period.
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1745:. Cambridge University Press. pp. 78–80.
1743:Specialization, Exchange and Complex Societies
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336:Color types: red ware, orange ware, polychrome
231:: marly “white” or cream; used to manufacture
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2031:Barber, Sarah B.; Pierce, Daniel E. (2018).
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1913:– via Gale In Context: World History.
1860:– via Gale In Context: World History.
1800:– via Gale In Context: World History.
1599:– via Gale In Context: World History.
1508:– via Gale In Context: World History.
880:
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2084:(6 ed.). New York: Thames and Hudson.
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1421:. University of Texas Press. p. 125.
1382:38.1 cm × 38.1 cm × 12.4 cm
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565:From the 5th century onwards, post-firing
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1726:(2). Archaeological Institute of America.
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1258:Menchaca, Victoria Lynn (Summer 2015).
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2991:
2131:Journal of Anthropological Archaeology
2088:
2010:
2001:
1660:Clayton, Sarah C. (December 1, 2005).
1416:
1233:
1119:
1107:
1095:
1083:
1071:
1056:
1047:, p. 23, in the Petén case study.
1044:
1032:
420:
2198:
2172:
2098:Reents-Budet, Dorie (February 1994).
1765:
1716:"What Can We Learn From a Maya Vase?"
1348:(6). Philadelphia: Penn Museum: 78–79
1335:
1138:
946:
290:
1736:
1441:
316:
44:adding citations to reliable sources
15:
2079:
1123:
641:
311:
13:
1086:, p. 21, citing A. Chase 1983
405:, the Tikal Dancer represents the
14:
3035:
2164:
2017:Eighth Palenque Round Table, 1993
1619:Journal of Archaeological Science
1098:, p. 21, citing Cowgill 1963
1009:Moriarty, Ellen Spensley (2012).
505:still create wonderful ceramics.
356:
242:
122:Painted Classic Period vase from
2260:
1550:Sixth Palenque Round Table, 1986
1007:See for example introduction of
955:. The Metropolitan Museum of Art
369:
322:Amarillo ware (yellow or orange)
20:
1949:
1917:
1864:
1804:
1759:
1730:
1707:
1653:
1603:
1556:
1541:
1512:
1435:
1395:
1329:
1286:
1251:
1239:
1227:
1218:
1188:Mechaca 2015 pp. 37-38, citing
1182:
1173:
1161:
1132:
1113:
1101:
1089:
1077:
949:"Ancient Maya Painted Ceramics"
340:
31:needs additional citations for
2093:. New York: Thames and Hudson.
2006:. University Press of Florida.
1384:). Boston: Museum of Fine Arts
1110:, p. 21, citing Rice 1979
1050:
1038:
1026:
1001:
966:
283:(brown, abbreviated "K"), and
200:Petén Lakes Postclassic system
1:
1993:
1563:Tsukamoto, Kenichiro (2017).
1278:Houston, Margaret S. (1974).
377:
326:
133:are ceramics produced in the
1519:Christienson, Allen (2000).
1192:Journal of Field Archaeology
947:Doyle, James (April 2017) .
861:
855:
849:
821:
815:
812:
807:
804:
798:
793:
790:
784:
779:
773:
770:
765:
762:
759:
743:
740:
737:
732:
729:
726:
721:
718:
715:
710:
707:
704:
699:
696:
693:
688:
685:
682:
677:
674:
671:
609:with face and side flanges,
493:Maya, who currently live in
448:
7:
3019:Maya science and technology
2089:Miller, Mary Ellen (1999).
2002:Aimers, James John (2013).
1417:Looper, Matthew G. (2010).
1126:A Maya Scribe and His World
178:
10:
3040:
2913:Uaxaclajuun Ubʼaah Kʼawiil
1766:Shott, Michael J. (1999).
1377:Plate with rattle supports
1204:10.1179/009346907791071548
279:(cream, abbreviated "C"),
229:Clemencia Cream Paste Ware
219:Snail-Inclusion Paste Ware
2936:
2861:
2661:
2568:Annals of the Cakchiquels
2559:
2504:
2428:
2269:
2258:
2208:
2157:10.1007/s12231-009-9079-2
2144:10.1016/j.jaa.2019.101109
2091:Maya Art and Architecture
1844:10.1017/S0003598X00096514
1784:10.1017/S0003598X0006590X
1755:– via Google Books.
1639:10.1016/j.jas.2015.06.013
1492:10.1017/S0003598X00068381
1179:CITEREFSherman_et_al.2019
987:10.1007/s12231-014-9263-x
899:10.1007/s12231-009-9079-2
275:(gray, abbreviated "G"),
1981:: CS1 maint: location (
1877:Latin American Antiquity
1811:Barber & Pierce 2018
1666:Latin American Antiquity
1295:Latin American Antiquity
1246:Barber & Pierce 2018
1124:Coe, Michael D. (1973).
1015:(PhD). Boston University
868:
434:the Maya trade systems.
2928:Yuknoom Yichʼaak Kʼahkʼ
2888:Kʼakʼ Tiliw Chan Yopaat
1737:Rice, Prudence (1987).
1224:Mechaca 2015 pp. 37-38.
1139:Grube, Nikolai (1990).
3024:Mesoamerican artifacts
2054:Cite journal requires
2011:Ardren, Traci (1996).
659:
651:
622:
598:Development chronology
573:. By preparing a thin
474:
300:
252:
209:Vitzil Orange-red Ware
194:
127:
3009:Pre-Columbian pottery
2903:Kʼinich Yax Kʼukʼ Moʼ
2893:Kʼinich Janaabʼ Pakal
2652:Título de Totonicapán
2225:Classic Maya collapse
2080:Coe, Michael (1999).
1959:(1984) . "Ceramics".
1582:10.15184/aqy.2017.143
1338:"A Maya Pottery Vase"
1146:. In Kerr, J. (ed.).
657:
649:
605:
464:
457:Production techniques
298:
250:
189:
121:
2908:Kʼinich Yoʼnal Ahk I
2631:Ritual of the Bacabs
2292:Twin-pyramid complex
1925:Kosakowsky, Laura J.
1336:M. B. (April 1935).
263:Monte Albán typology
40:improve this article
2873:Bʼalaj Chan Kʼawiil
2843:Xmucane and Xpiacoc
2638:Songs of Dzitbalché
1957:Elizabeth Varela G.
1631:2015JArSc..62...15T
1442:Boot, Erik (2003).
1168:Sherman et al. 2019
1122:, p. 1 citing
650:Chama Style Vessel.
443:Maya Classic Period
421:Ceramics in society
351:Guatemala highlands
2898:Kʼinich Yat Ahk II
2706:Howler monkey gods
1575:(360): 1630–1646.
1404:, pp. 294–299
1148:The Maya Vase Book
774:Period of Mexican
738:Middle Preclassic
660:
652:
623:
489:. The present-day
475:
301:
291:Crema ware (cream)
271:is commonly used:
253:
128:
3004:Pre-Columbian art
2986:
2985:
2923:Yuknoom Chʼeen II
2883:Itzam Kʼan Ahk II
2201:Maya civilization
1971:. pp. 13–14.
1969:Ediciones Alducin
1963:. photography by
1752:978-0-521-32118-1
1402:Reents-Budet 1994
925:Reents-Budet 1994
866:
865:
766:Approximate Date
748:
747:
683:Terminal Classic
678:Approximate Date
569:was adopted from
317:Cafe ware (brown)
116:
115:
108:
90:
3031:
2948:Lady Eveningstar
2940:
2865:
2665:
2508:
2432:
2264:
2230:Spanish conquest
2212:
2202:
2193:
2186:
2179:
2170:
2169:
2148:
2146:
2121:
2094:
2085:
2076:
2063:
2057:
2052:
2050:
2042:
2040:
2039:
2027:
2025:
2024:
2007:
1987:
1986:
1980:
1972:
1953:
1947:
1946:
1941:
1940:
1921:
1915:
1914:
1912:
1911:
1889:10.2307/30042505
1868:
1862:
1861:
1859:
1858:
1823:
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1808:
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1801:
1799:
1798:
1763:
1757:
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1734:
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1711:
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1704:
1702:
1700:
1678:10.2307/30042508
1657:
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1598:
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1584:
1560:
1554:
1553:
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1525:
1516:
1510:
1509:
1507:
1506:
1471:
1462:
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1459:
1457:
1448:
1439:
1433:
1432:
1414:
1405:
1399:
1393:
1392:
1390:
1389:
1383:
1372:
1357:
1356:
1354:
1353:
1333:
1327:
1326:
1290:
1284:
1283:
1275:
1273:
1272:
1266:
1255:
1249:
1243:
1237:
1231:
1225:
1222:
1216:
1215:
1186:
1180:
1177:
1171:
1165:
1159:
1158:
1156:
1155:
1145:
1136:
1130:
1129:
1117:
1111:
1105:
1099:
1093:
1087:
1081:
1075:
1069:
1060:
1054:
1048:
1042:
1036:
1030:
1024:
1023:
1021:
1020:
1005:
999:
998:
970:
964:
963:
961:
960:
944:
927:
922:
911:
910:
882:
862:500 BC - AD 326
757:
756:
733:350 BC - AD 250
727:Late Preclassic
669:
668:
642:Sample timelines
507:Prudence M. Rice
366:until recently.
312:Gris ware (gray)
269:Caso et al. 1967
111:
104:
100:
97:
91:
89:
48:
24:
16:
3039:
3038:
3034:
3033:
3032:
3030:
3029:
3028:
2989:
2988:
2987:
2982:
2973:Wak Chanil Ajaw
2938:
2932:
2863:
2857:
2663:
2657:
2555:
2506:
2500:
2472:Human sacrifice
2430:
2424:
2287:Triadic pyramid
2265:
2256:
2220:Preclassic Maya
2210:
2204:
2200:
2197:
2167:
2110:
2055:
2053:
2044:
2043:
2037:
2035:
2022:
2020:
1996:
1991:
1990:
1974:
1973:
1954:
1950:
1938:
1936:
1922:
1918:
1909:
1907:
1869:
1865:
1856:
1854:
1824:
1817:
1813:, 5.2 pp. 36-39
1809:
1805:
1796:
1794:
1764:
1760:
1753:
1735:
1731:
1712:
1708:
1698:
1696:
1658:
1654:
1614:
1608:
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1595:
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1561:
1557:
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1542:
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1530:
1523:
1517:
1513:
1504:
1502:
1472:
1465:
1455:
1453:
1446:
1440:
1436:
1429:
1415:
1408:
1400:
1396:
1387:
1385:
1381:
1374:
1373:
1360:
1351:
1349:
1342:Museum Bulletin
1334:
1330:
1291:
1287:
1270:
1268:
1264:
1256:
1252:
1244:
1240:
1232:
1228:
1223:
1219:
1187:
1183:
1178:
1174:
1166:
1162:
1153:
1151:
1143:
1137:
1133:
1118:
1114:
1106:
1102:
1094:
1090:
1082:
1078:
1070:
1063:
1055:
1051:
1043:
1039:
1031:
1027:
1018:
1016:
1006:
1002:
975:Economic Botany
971:
967:
958:
956:
945:
930:
923:
914:
887:Economic Botany
883:
876:
871:
799:Interregnum or
787:Mexican Period
785:Maya-Toltec or
675:Ceramic Sphere
644:
600:
459:
451:
423:
407:young Maize God
385:Q. guatemalteca
380:
372:
359:
343:
338:
329:
324:
319:
314:
293:
265:
245:
202:
181:
112:
101:
95:
92:
55:"Maya ceramics"
49:
47:
37:
25:
12:
11:
5:
3037:
3027:
3026:
3021:
3016:
3011:
3006:
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2984:
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2965:
2960:
2955:
2950:
2944:
2942:
2934:
2933:
2931:
2930:
2925:
2920:
2918:Yoʼnal Ahk III
2915:
2910:
2905:
2900:
2895:
2890:
2885:
2880:
2875:
2869:
2867:
2859:
2858:
2856:
2855:
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2815:
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2800:
2794:
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2778:
2773:
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2754:
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2748:
2743:
2738:
2733:
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2718:
2713:
2708:
2703:
2698:
2693:
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2634:
2627:
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2613:
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2597:
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2578:
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2528:
2523:
2518:
2512:
2510:
2502:
2501:
2499:
2498:
2493:
2492:
2491:
2484:Social classes
2481:
2480:
2479:
2474:
2469:
2464:
2454:
2453:
2452:
2442:
2436:
2434:
2426:
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2412:
2407:
2402:
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2392:
2387:
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2377:
2372:
2371:
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2365:
2360:
2350:
2349:
2348:
2346:Maritime trade
2343:
2333:
2328:
2323:
2318:
2313:
2312:
2311:
2301:
2300:
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2165:External links
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2108:
2095:
2086:
2077:
2064:
2056:|journal=
2028:
2008:
1995:
1992:
1989:
1988:
1965:Xavier Alducin
1948:
1916:
1863:
1815:
1803:
1758:
1751:
1729:
1706:
1672:(4): 427–448.
1652:
1602:
1555:
1540:
1511:
1463:
1434:
1428:978-0292778184
1427:
1406:
1394:
1358:
1328:
1307:10.2307/971742
1285:
1250:
1238:
1226:
1217:
1198:(3): 265–282.
1181:
1172:
1160:
1131:
1128:. p. 114.
1112:
1100:
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1000:
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928:
912:
893:(2): 119–129.
873:
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716:Early Classic
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607:Incense Burner
599:
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548:Ancient Greeks
540:potter's wheel
458:
455:
450:
447:
422:
419:
379:
376:
371:
368:
358:
357:Chocolate pots
355:
347:Bajos de Chila
342:
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334:
328:
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264:
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243:Chocholá style
241:
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177:
146:Princeton Vase
114:
113:
96:September 2013
28:
26:
19:
9:
6:
4:
3:
2:
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2997:
2996:
2994:
2979:
2976:
2974:
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2969:
2966:
2964:
2961:
2959:
2958:Lady of Tikal
2956:
2954:
2953:Lady of Itzan
2951:
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2935:
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2878:Haʼ Kʼin Xook
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2671:
2670:
2668:
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2647:
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2645:Título Cʼoyoi
2642:
2640:
2639:
2635:
2633:
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2628:
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2485:
2482:
2478:
2477:Death rituals
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2109:9780822314387
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2018:
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51:Find sources:
45:
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29:This article
27:
23:
18:
17:
2838:Vucub Caquix
2797:
2766:Ah-Muzen-Cab
2757:Post-Classic
2746:Moon goddess
2650:
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2277:Architecture
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2047:cite journal
2036:. Retrieved
2021:. Retrieved
2016:
2003:
1961:Chichen Itza
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1937:. Retrieved
1933:the original
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1778:(282): 967.
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1152:. Retrieved
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1074:, p. 21
1059:, p. 24
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1017:. Retrieved
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957:. Retrieved
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844:AD 325-925
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829:Florescence
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794:AD 975-1200
791:Fine Orange
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771:Red Pottery
752:Chichen Itza
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619:Museum of Us
591:palygorskite
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126:in Guatemala
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38:Please help
33:verification
30:
3014:Ceramic art
2978:Yohl Ikʼnal
2813:Hun Hunahpu
2731:Kinich Ahau
2721:Jaguar gods
1883:(4): 355+.
1720:Archaeology
1528:BYU Studies
1521:"Popol Vuh"
1456:October 30,
1236:, p. 2
1234:Ardren 1996
1170:, p. 9
1120:Ardren 1996
1108:Aimers 2013
1096:Aimers 2013
1084:Aimers 2013
1072:Aimers 2013
1057:Aimers 2013
1045:Aimers 2013
1033:Aimers 2013
838:AD 325-625
832:AD 625-800
826:AD 800-925
816:Tzakol and
808:AD 925-975
776:Absorption
744:600-350 BC
722:AD 250-550
711:AD 550-700
700:AD 700-850
613:, highland
571:Teotihuacan
556:Codex Style
515:metamorphic
390:Maya script
306:Monte Albán
150:Fenton Vase
142:Mesoamerica
140:culture of
2993:Categories
2828:Qʼuqʼumatz
2701:Hero Twins
2686:Death gods
2560:Literature
2496:Households
2462:Priesthood
2038:2022-08-13
2023:2022-08-12
1994:References
1939:2007-03-29
1910:2019-11-20
1857:2019-11-20
1797:2019-10-24
1699:25 October
1596:2019-10-30
1505:2019-10-30
1388:2022-08-14
1352:2022-08-13
1271:2022-08-13
1154:2022-08-13
1019:2022-08-13
959:2019-10-25
856:Mamom and
686:Tepeu III
513:past. The
491:indigenous
378:Decoration
327:Slate ware
161:monochrome
66:newspapers
2968:Sak Kʼukʼ
2798:Popol Vuh
2736:Maize god
2696:Goddess I
2617:Popol Vuh
2467:Sacrifice
2450:Midwifery
2440:Childhood
2390:Mythology
2353:Languages
2240:Guatemala
2075:. Mexico.
1977:cite book
1905:163725189
1832:Antiquity
1792:246046654
1772:Antiquity
1694:164112743
1625:: 15–26.
1569:Antiquity
1500:161127947
1480:Antiquity
1323:163554946
1212:129444807
995:255556021
858:Chicanel
823:Collapse
805:Plumbate
730:Chicanel
697:Tepeu II
689:AD 850-?
615:Guatemala
579:Maya Blue
575:quicklime
546:Like the
530:Once the
495:Guatemala
449:Economics
427:limestone
415:Popol Vuh
411:Maize God
213:Augustine
2999:Maya art
2963:Lady Xoc
2823:Jacawitz
2808:Camazotz
2791:Yum Kaax
2786:Kukulkan
2546:Tzolkʼin
2507:Calendar
2457:Religion
2415:Textiles
2395:Numerals
2380:Medicine
2375:Mayanist
2316:Ceramics
2309:Graffiti
2118:28632069
2082:The Maya
1927:(2000).
1897:30042505
1852:59425601
1686:30042508
1647:16912779
1591:55873493
841:Classic
813:Classic
708:Tepeu I
664:Uaxactun
552:minerals
511:volcanic
471:Honduras
285:amarillo
223:Paxcamán
179:Typology
157:ceramics
148:and the
2853:Zipacna
2818:Huracan
2726:Kʼawiil
2711:Itzamna
2672:Classic
2664:Deities
2594:Grolier
2587:Dresden
2581:Codices
2431:Society
2420:Warfare
2358:Classic
2336:Economy
2326:Cuisine
2297:Revival
2282:E-Group
2250:Yucatán
2235:Chiapas
2211:History
1627:Bibcode
1451:Mesoweb
1276:citing
907:8037030
760:Period
719:Tzakol
672:Period
519:igneous
479:pottery
431:calcite
233:Topoxté
80:scholar
2939:Queens
2803:Awilix
2751:Yopaat
2716:Ixchel
2601:Madrid
2531:Kʼatun
2521:Baktun
2410:Stelae
2400:People
2363:Script
2321:Cities
2270:Topics
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835:Early
818:Tepeu
741:Mamon
631:gourds
589:, and
583:indigo
567:stucco
503:Mexico
499:Belize
487:temper
398:Holmul
82:
75:
68:
61:
53:
2864:Kings
2848:Xquic
2833:Tohil
2781:Ixtab
2691:God L
2681:Chaac
2676:Bacab
2608:Paris
2551:Winal
2526:Haabʼ
2445:Women
2405:Sites
2385:Music
2341:Trade
2331:Dance
2245:Petén
1901:S2CID
1893:JSTOR
1848:S2CID
1788:S2CID
1690:S2CID
1682:JSTOR
1643:S2CID
1615:(PDF)
1587:S2CID
1524:(PDF)
1496:S2CID
1447:(PDF)
1319:S2CID
1311:JSTOR
1265:(PDF)
1208:S2CID
1144:(PDF)
991:S2CID
903:S2CID
869:Notes
587:copal
560:books
524:river
467:Copán
403:Tikal
364:cacao
277:crema
235:ware.
225:ware.
215:ware.
124:Sacul
87:JSTOR
73:books
2776:Chin
2771:Akna
2761:Acat
2536:Kʼin
2516:Ajaw
2489:Ajaw
2368:List
2114:OCLC
2104:ISBN
2060:help
1983:link
1747:ISBN
1701:2019
1535:2019
1458:2019
1423:ISBN
532:clay
517:and
485:and
483:clay
281:café
273:gris
138:Maya
59:news
2741:Mam
2541:Tun
2304:Art
2153:doi
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